REPITITION Using one color for the background and its complementary color to highlight important

The principle of repetition simply means the reusing of the same or similar elements elements, you will get color dominance combined with sharp color contrast.
throughout your design. of certain design elements in a slide or among a deck of slides will Analogous color - schemes use colors that are next to each other on the color wheel.
bring a clear sense of unity, consistency, and cohesiveness. Where contrast is about They usually match well and create serene and comfortable designs.Analogous color
showing differences, repetition is about subtly using elements to make sure the design is schemes are often found in nature and are harmonious and pleasing to the eye.
viewed as being part of a larger whole. If you use a stock template from your software Make sure you have enough contrast when choosing an analogous color scheme.
application, then repetition is already built into your slides. For example, a consistent Choose one color to dominate, a second to support. The third color is used (along with
background and consistent use of type adds unity across a deck of slides. Repetition refers black, white or gray) as an accent. The analogous color scheme uses colors that are
to one object or shape repeated; pattern is a combination of elements or shapes repeated adjacent to each other on the color wheel. One color is used as a dominant color while
in a recurring and regular arrangement; rhythm--is a combination of elements repeated, but others are used to enrich the scheme. The analogous scheme is similar to the
with variations. The principle of repetition simply means the reusing of the same or similar monochromatic one, but offers more nuances.
elements throughout your design. Repetition of certain design elements in a design will A triadic color scheme- uses colors that are evenly spaced around the color wheel.
bring a clear sense of unity, consistency,and cohesiveness. Repetition is the use of similar Triadic color harmonies tend to be quite vibrant, even if you use pale or unsaturated
or connected pictorial elements. For example, similar shapes, colours or lines that are used versions of your hues.To use a triadic harmony successfully, the colors should be carefully
more than once.it can be regular or irregular and even or uneven.it can be in the form of balanced - let one color dominate and use the two others for accent. The triadic color
RADIATION where the repeated elements spread out from a central point.it may be in the scheme uses three colors equally spaced around the color wheel. This scheme is popular
form of GRADATION where the repeated elements slowly become smaller or among artists because it offers strong visual contrast while retaining balance, and color
larger.Repetition works with pattern to make the artwork seem active. The repetition of richness. The triadic scheme is not as contrasting as the complementary scheme, but it
elements of design creates unity within the artwork.Patterns often occur in nature, and looks more balanced and harmonious.
artists use similar repeated motifs to create pattern in their work. Pattern increases visual Monochromatic color scheme- uses variations in lightness and saturation of a
excitement by enriching surface interest. single color. This scheme looks clean and elegant. Monochromatic colors go well together,
Principles of Planning producing a soothing effect. The monochromatic scheme is very easy on the eyes,
Orientation - Aspect and Prospect Setting and placing of building units in relation especially with blue or green hues. You can use it to establish an overall mood. The primary
to sun, wind, topography and outlook It also includes the arrangement of color can be integrated with neutral colors such as black, white, or gray. However, it can be
doors/windows in external walls of building (protect inmates from weathers ill effect) difficult, when using this scheme, to highlight the most important elements.
Providing convenient access to street and backyard Activities in different rooms Rules of Perspective
takes place at different time, according to activities building units are planned. 1 - all straight lines remain straight in their perspective
Aspect Aspect deals with the art of positioning longer walls, room opening, 2 - vertical lines remain vertical (dont curve) - but it is not an uncommon error to suppose
chajja of a building in such a way that occupants derive maximum benefits from that vertical lines of high buildings converge towards the top. they would if we stood at the
natural sources base of a building and looked up. but in this case our point of sight and our horizon line
.Prospect Art of positioning of openings to have desirable views Occupants would be in the sky. but standing sufficiently far away as to bring the whole of the building
enjoy scenery outside through window Projected bay windows or concealing within angle of our vision and point of site down to the horizon then these same lines would
undesired view from. appear perfectly parallel
Privacy Privacy of building from other building Growing trees/creepers Compound 3 - horizontal lines parallel to the base of the picture are also parallel to the base of the of
wall having height 1.5 m minimum Glass Windows Screen walls Privacy in the the picture (that is if your lines in the thing your drawing are horizontal and parallel to the
building itself Providing proper location of D,W,V Proper grouping of room ground then so should your drawn lines)and there are a few more but this will get you
Screen/curtain/wooden partition Avoid entry from room/through the passages. started
Circulation : the access into or out of a room Vertical Circulation ( From one floor
to other) Stairs Lifts Ramp in public building like shopping mall, theatres,
Horizontal Circulation (from room to room of the same floor) Achieved through
passage, corridor, halls, lobbies, Passage : Wide, lighted, straight Free from
obstruction.
Roominess: Feeling for space Psychological conclusion drawn out of size and
shape formed by you Room should look spacious by Suitable dimensions Length
and breadth (L/B = 1.2 to 1.5) Arrangement of furniture Height of building Avoid
projected cup board Project some part of room outside Avoid Offsets in the wall
Position of D, W and V Colour light Pleasant Dark gloomy.
Grouping: Planning of two or more related rooms in proximity of each other
Minimize circulation , sequence of function should be maintained Increase comfort,
privacy, Convenience Verandah Living room ( more numbers of visitors can be
accommodate in verandah) Dining Close to kitchen ( service, odour and smoke of
kitchen Living-Dining (social gathering) Bed room-toilet-dressing (better privacy)
Grouping Bath-w/c (plumbing services) Kitchen-backyard (cleaning, vision outside)
Staircase in the middle of building (Easy access, quick movement) Toilet/bath/w/c
away or separated by passage.
Furniture Arrangement: Planning of building unit Planning of building unit
looking to the requirements of furniture Space required to carry out the activities
Arrangement of furniture (circulation space) Different layout of the building.
Sanitation Light( proper orientation, design of window) Illuminate house, natural
lighting, Artificial lighting, no glare Ventilation (fresh & cool air, location of window)
Cleanliness (surface of the floor, finishing, wall paper, design of door, window frame
and shutter).
Flexibility Functional requirement of building unit can be changed Living can be
changed as bed room for guest Kitchen can be dining.
Elegance Appearance of building Elevation of building should be such that it
speaks out itself the purpose Selection of better material Glass , FRP Timber
(polished) Design of verandah, column, chhaja, balconies Different design of
window
ECONOMY Restrict the liberty of Architect Economy should not have evil effect
on utility, durability and safety Planning for long term.

Split-Complementary -The split-complementary color scheme is a variation of the

complementary color scheme. In addition to the base color, it uses the two colors adjacent
to its complement.This color scheme has the same strong visual contrast as the
complementary color scheme, but has less tension.The split-complimentary color scheme is
often a good choice for beginners, because it is difficult to mess up. Split-complementary is
a color scheme using one base color and two secondary colors. Instead of using
a complementary color, two colors placed symetrically around it on the color wheel are used.
The base color is main, while the secondary colors should be used only
or highlights and accents. We get a combination of one warm and two cold colors (or vice
versa). Anyway, because there are two secondary colors, the base color in never so strong
and clearly dominant, and this scheme is better cold-warm balancable than a complementary
color scheme. Various monochromatic shades of all colors could be added to the scheme.

Complementary Colors - that are opposite each other on the color wheel are
considered to be complementary colors (example: red and green).The high contrast of
complementary colors creates a vibrant look especially when used at full saturation. This
color scheme must be managed well so it is not jarring. Complementary colors are tricky to
use in large doses, but work well when you want something to stand out. Complementary
colors are really bad for text. The complementary color scheme is made of two colors that
are opposite each other on the color wheel. This scheme looks best when you put a warm
color against a cool color, for example, red versus green-blue. The complementary scheme
is intrinsically high-contrast.When using the complementary scheme, it is important to
choose a dominant color and use its complementary color for accents.
ELEMENT OF DESIGN
Line: An element of art used to define shape, contours, and outlines; also to suggest
mass and volume. It may be a continuous mark made on a surface with a pointed tool or
implied by the edges of shapes and forms. Line is probalby the most fundamental of all the
elements of design. It is the starting place for most artistic creation whether one is starting a
fine draing or painting or even sketching ideas for a sculpture. most design begins with
line.line consist of only one dimension, length. In the real world of creating art though a one
dimensional line would not be practical. A more usable deifnition might be that line is the
path of a dot, point etc. through space and that is always has more length than thickness
Characteristic of Line are:(1) -Width - thick, thin, tapering, uneven (2)-Length - long, short,
continuous, broken (3)Direction- horizontal, vertical, diagonal, curving, perpendicular,
oblique, parallel, radial, zigzag (4)Focus- sharp, blurry, fuzzy, choppy (5)Feeling- sharp,
jagged, graceful, smooth Types of Line: (1)Outlines- Lines made by the edge of an
object or its silhouette.(2)Contour Lines- Lines that describe the shape of an object and the
interior detail.(3)Gesture Lines- Lines that are energetic and catch the movement and
gestures of an active figure.(4)Sketch Lines- Lines that capture the appearance of an object
or impression of a place.(5)Calligraphic Lines- Greek word meaning "beautiful writing."
Precise, elegant handwriting or lettering done by hand. Also artwork that has flowing lines
like an elegant handwriting.(6)Implied Line- Lines not actually drawn but created by a group
of objects seen from a distance. Implied line is the direction an object is pointing to, or the
direction a person is looking at.
Color -Color comes from light - if it werent for light, we would have no color. Light rays
move in a straight path from a light source. Within this light, rays include all of the colors in
the spectrum or rainbow. Shining a light into a prism will create a rainbow of colors because
it separates the color of the spectrum. When the light rays hit an object, our eyes respond
to the rays that are reflected back and we see only the reflected color(s). For example, a
red ball reflects all the red light rays. As artists, we use pigments in the form of powder or
liquid paints to create colo
Space
Negative space surrounds a sculpture or object. A person can walk around sculptures and
objects, look above them, and enter them. Space refers to the space inside, around, and
above a sculpture or object. A three-dimensional object with positive space will have height,
width, and depth.Space in a two-dimensional drawing or painting refers to the arrangement
of objects on the picture plane. The picture plane is the surface of your drawing paper or
canvas. You can have a picture plane that is a crowded space with lots of objects or an
empty space with very few objects. A two-dimensional piece of art has height and width but
no depth. The illusion of depth can be achieved by using perspective. Perspective is the
technique that is used to create the illusion of depth in your picture. Perspective makes your
picture look like it is moving to the distance like in a landscape or cityscape.
Categories of Space (1)Positive space Similar to a positive shape, it is the actual
sculpture or building.(2)Negative space Similar to a negative shape, it is the space around
the sculpture or building.(3)Picture Plane is the flat surface of your drawing paper or
canvas.(4)Composition is the organization and placement of the elements on your picture
plane.(5)Focal Point is the object or area you want the viewer to look at first.
Texture-Texture is the surface quality of an object. A rock may be rough and jagged. A
piece of silk may be soft and smooth, and your desk may feel hard and smooth. Texture
also refers to the illusion of roughness or smoothness in a picture. Categories of Texture-
(1)Real Texture is the actual texture of an object. Artists may create real textures in art to
give it visual interest or evoke a feeling. Real texture occurs only in a three-dimensional
sculpture or a collage. A piece of pottery may have a rough texture so that it will look like it
came from nature or a smooth texture to make it look burnished.(2)Implied Texture in two-
dimensional art is made to look like a certain texture but in fact is just a smooth piece of
paper. Like a drawing of a tree trunk may look rough but in fact it is just a smooth piece of
paper.
Form-Form is the three-dimensionality of an object. Shape is only two-dimensional; form is
three-dimensional. You can hold a form, walk around a form, and in some cases walk inside
a form. Value can imply form in drawings or paintings. Shading a circle in a certain manner
can give it the illusion of a sphere. Basic forms are three-dimensional figures, including
spheres, cubes, cylinders, pyramids and cones. If an object has height, width and depth, it
is a form. A form can be a man-made, geometric shape that is mathematically precise in all
its angles and edges, or it can be a natural, organic form. Organic forms like lizards,
dragonflies and apple trees are not mathematically precise, but they are three-
dimensional.A form is negative or positive. A brick-shaped indentation in a wall is a
negative form while an exposed brick is a positive form. Form can also be static or dynamic.
Static means still, so a ball resting on the table is static. A dynamic form suggests motion
such as a ball flying across the room. Form may be described as any three-
dimensional object. Form can be measured, from top to bottom (height), side to side (width),
and from back to front (depth). Form is also defined by light and dark. It can be defined by
the presence of shadows on surfaces or faces of an object. There are two types of form,
geometric (man-made) and natural (organic form). Form may be created by the combining
of two or more shapes. It may be enhanced by tone, texture and color. It can be illustrated
or constructed.
Light and shadow. The overall lightness and lack of contrast in the left image conveys a
sense of spirituality and harmony between the tree and the circular sky. The dramatic mood
of the other work by Gustave Dore is created, in large part, by the high contrast of light and
dark .Light often describes the light source or light reflected within the composition. In
realistic compositions, if there is light, there is shadow. Possible characteristics:
chiaroscuro, brilliant, bright, dark, shadows, shade, holy light, night light, moonlight,
sunlight, bulbs, morning light, dusk, diffused, dim, filtered, illuminated, clear, highlights,
foggy, mystical, realistic, imaginary. Reflecting light: light that bounces off of objects.
Glowing light: the source of light
PRINCIAPL OF DESIGN
Balance-The state of equal relationship; the sense of stability when weight is distributed
equally on either side of a vertical axis; a pleasing arrangement of parts in a whole.
There are different kinds of balance(1) Symmetrical balance wherein each side is the
mirror-image of the other(2)Asymmetrical balance wherein there is a sense of balance
achieved through careful planning of elements; ex: three small objects on one side of a
page may be arranged to balance one large object on the other(3)Radial balance wherein
the design elements swirl out from a central axis (star, explosion)
Balance is the equal distribution of visual weight in a design. Visual balance occurs around
a vertical axis; our eyes require the visual weight to be equal on the two sides of the axis.
We are bilateral creatures and our sense of balance is innate. When elements are not
balanced around a vertical axis, the effect is disturbing and makes us uncomfortable .
Symmetrical, or formal balance, is also known as bilateral symmetry. It is created by
repeating the reverse of a design on the opposite side of the vertical axis; each side, in
essence, becomes the mirror image of the other. Symmetrical balance is considered formal,
ordered, stable and quiet. It can also be boring. Symmetrical balance is often used in
architecture.While symmetry achieves balance through repetition, asymmetry achieves
balance through contrast. Asymmetrical, or informal balance, involves different elements that
have equal visual weight; the weight is equal but the elements are not identical.
Visual weight is influenced by(1)Position - the further out an element is from the center, the
heavier it will feel; a large object placed near the center can be balanced by a smaller object
placed near the edge(2)Size - larger feels heavier ------texture - an element with more
complex texture is heavier visually than one with a simple texture or no texture at all---
Isolation - an isolated element has more visual weight---Value - darker feels heavier---Value
contrast - the higher the value-contrast, the heavier the weight---Quantity - multiple small
objects can balance one larger object---Orientation - a diagonal orientation carries more
visual weight than a horizontal or vertical one---Shape - elements that have more complex
shapes feel heavier than those with simple shapes---Color - the brighter and more intense its
color, the heavier the element will feel.---------Asymmetrical balance is casual, interesting and
more dynamic than symmetrical balance.Radial balance occurs when all the elements
radiate out from a central point and the visual weight is distributed equally. Radial balance
creates a strong focal point in the center of the design. Clock faces and daisies are examples
of radial balance.Crystallographic balance, or an allover pattern, is created by repeating
elements of equal weight everywhere. Emphasis is uniform; there is no distinct focal point.
Quilts and chessboards are examples of crystallographic balance.
Unity--The sense of oneness in a work of art; the sense that the design components or
objects belong together.Unity is achieved by placing components close together (proximity),
by repetition, or by creating a sense of flow whereby the eye is led from one aspect of the
work to another using line, direction or colour. Unity is the underlying principle that
summarizes all of the principles and elements of design. It refers to the coherence of the
whole, the sense that all of the parts are working together to achieve a common result; a
harmony of all the parts.Unity can be achieved through the effective and consistent use of
any of the elements, but pattern-- that is, underlying structure-- is the most fundamental
element for a strong sense of unity. Consistency of form and color are also powerful tools
that can pull a composition together.However, unity also exists in variety. It is not necessary
for all of the elements to be identical in form providing they have a common quality of
meaning or style. For example, fashions from a specific period share common features of
silhouette, materials, and color that identify the style of the day, or the look of a particular
designer.Unity can also be a matter of concept. The elements and principles can be selected
to support the intended function of the designed object; the purpose of the object unifies the
design.
Variety--The use of different colours, sizes, shapes, etc. to create interest and avoid
monotony.Variety means "to change the character" of an element, to make it different.
Variety is the complement to unity and is needed to create visual interest. Without unity, an
image is chaotic and "unreadable;" without variety it is dull and uninteresting. Good design is
achieved through the balance of unity and variety; the elements need to be alike enough so
we perceive them as belonging together and different enough to be interesting.
Varying the elements creates variety. Ways to vary elements include:----Line - thinness,
thickness, value, color, angle, length---Shape - size, color, orientation and texture, type---
Color - hue, value, saturation--Value - darkness, lightness, high-key, low-key, value contrast-
--Texture - rough, smooth---An effective way to integrate unity and variety is by creating
variations on a theme. Just as a composer can repeat and vary a musical theme throughout
a composition, a designer can repeat and vary an element throughout a design.---Variety is a
principle of design that refers to a way of combining visual elements to achieve intricate and
complex relationships. It is a technique used by artists who wish to increase the visual
interest of their work. Artwork that makes use of many different hues, values, lines, textures,
and shapes reflects variety. Keeping the same size while changing the color can also show
variety.Although varying the components of a design can create visual interest and avoid
monotony, design elements must also convey a sense of cohesion. It is important to maintain
cohesion or the design will look like a mess of mismatched images thrown together. Still,
visual design without any variation is boring.
Rythem
The sense that our eyes are being carried from one part of the design or painting to another;
this may happen abruptly through the use of jagged lines, abrupt shifts of colour or shape, or
in a flowing circular way. Repetition of design elements also contribute to a sense of
rhythm.Repetition of line or other elements create rhythm, and also mood (calm, restful
versus unsettled or dangerous. Rhythm can be described as timed movement through
space; an easy, connected path along which the eye follows a regular arrangement of motifs.
The presence of rhythm creates predictability and order in a composition. Visual rhythm may
be best understood by relating it to rhythm in sound. This link will take you to a video clip and
explanation of how the sound of a Nigerian "talking drum" follows the intonation and rhythm
of speech.Rhythm depends largely upon the elements of pattern and movement to achieve
its effects. The parallels between rhythm in sound/ music are very exact to the idea of rhythm
in a visual composition. The difference is that the timed "beat" is sensed by the eyes rather
than the ears.Visual rhythm can be created in a number of ways. Linear rhythm refers to the
characteristic flow of the individual line. Accomplished artists have a recognizable manner of
putting down the lines of their drawings that is a direct result of the characteristic gesture
used to make those lines, which, if observed, can be seen to have a rhythm of its own. Linear
rhythm is not as dependent on pattern, but is more dependent on timed movement of the
viewer's eye.
Emphasis
he sense that our attention is being focused to a particular spot a centre of attention
achieved by :---Scale: a larger object dominates smaller objects---Colour: one bright colour
against subdued colours catches the eye--Contrast: the juxtaposition of black and white, dark
and light highlights differences---Position: an object placed in the foreground or the center of
a work dominates, as does one in isolation from other objects---emphasis is also referred to
as point of focus, or interruption. It marks the locations in a composition which most strongly
draw the viewers attention. Usually there is a primary, or main, point of emphasis, with --
perhaps secondary emphases in other parts of the composition. The emphasis is usually an
interruption in the fundamental pattern or movement of the viewers eye through the
composition, or a break in the rhythm.---The artist or designer uses emphasis to call attention
to something, or to vary the composition in order to hold the viewers interest by providing
visual "surprises."---Emphasis can be achieved in a number of ways. Repetition creates
emphasis by calling attention to the repeated element through sheer force of numbers. If a
color is repeated across a map, the places where certain colors cluster will attract your
attention,Contrast achieves emphasis by setting the point of emphasis apart from the rest of
its background. Various kinds of contrasts are possible. The use of a neutral
background isolates the point of emphasis.